Voices become distant and there is only room for feelings and memories. The room we are in now is filled with bright and sharp notes, all converging into space travel in our minds, going through a super nova about to explode, and we can witness how all particles and light go straight and quickly to one point of convergence. This is one of the most beautiful scenes, but one must keep its distance from a phenomenon like such.
These are the kind of sounds that would slowly become part of your memories and any wall that is touched by them, willing to resonate whenever words are silenced and there is only time left to look inside ourselves.
This is an EP called Keep Your Eyes to the Sea by the Kingston upon Thames based band Killington Fall, released this September 14, 2011, and it really becomes the best expression of one of the kindest and honest descriptions I have ever heard about music: “instruments talk and debate to each other, they always keep conversations that we sometimes as humans ignore, as they lack of conventional spoken words”; meaning, wordswill never be enough to convey what is inside of our hearts and minds.
This is post rock, experimental music in a moderate explosion with a well defined route, as it knows exactly where to soften the song and the sound that will proceed; however, this not seems to be made on purpose, but a rather instinctive approach when it comes to music composition.
All songs account with well defined structures, having sounds of drums, bass guitar, guitar and ambient atmospheres. Every instrument follows each other at the start, but as the minutes of one song advance, the conversation starts taking an own shape, and at times some of them will remain quiet to listen to one idea, then complement it or debate it, as in ‘Ghost Rockets’ (which incidentally is available for free in the band’s bandcamp site).
The structure followed is like the music equivalent to an essay, where the strongest and more intense part is made by the antithesis, and sometimes some spoken words from a human throat would come as an accessory to then present the thesis of this idea, using syncopate resources with a touch of math rock (or influenced by baroque structures). The second part, the antithesis, is introduced by a quiet sound of guitar distorted, to then explode again using the initial sounds, adding sharpness and echoes like those inside cathedrals. Your words and sounds come back to you, but they have ceased to be yours. This is the second track out of four: ‘Two Surrendered Flags’.
A grey atmosphere is slowly displayed in your mind, as echoes from the last song become even more diffuse, maybe picturing a stalemate made of a relative and fragile tranquility. This is the moment to sit down and pause, maybe to think about the juxtaposition of the previous statements, reading out loud that there is no chaos without order, but I think we all know that already. This track is filled with ambient sounds that evoke the ethereal part of our words and senses, just to breathe and prepare for the next big test. This song is ‘Stable Waves’, the third track.
A quiet introduction warns about the next big implosion, all announced through distorted sounds of drums, having a significant contrast against quiet guitars, then silence. The next structure has started and it surely develops in a shape of stairs, presenting irregular time signatures that would present clearly every cell of this human brain. There is also an interesting use of percussions, as they are modified with rather unexpected sounds, but become organic in the most chaotic part of this human being. The song produces a 2/2 balance between quiet and order, producing then the so valued balance we all look for. This is ‘Eventide, The Dark’.
As previously stated, it is all about finding a balance, about feeling every music note and giving importance to simple motifs, from where ideas, perspectives or doctrines will be built upon. This is the most schematic display of music with contents, but such can be whatever we want, as the great gift of subconscious is the prerogative this band gives to their listeners.
Words: No one.
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